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MURDER EP.22/Part One/Revised
Edit Here. ---- And now, a message from the Creator: Hello everyone. So this is my... *counts fingers* I think third attempt to write this? Yeah, I've been revising more than normal. When I released'' A Fiend in Sheep's Clothing'' in January, I promised that this episode would be something unlike any other. I hyped it up with a trailer for an episode barely written yet, with plot points barely fleshed out. I mean, all I had to do was write another two-part episode, right? No big deal. Six months and six parts later... this has been an exhausting, exhilarating, and emotional roller-coaster I've been on. I added plot points that I had planned to reveal in the series finale, I removed plot points that I felt did not work, and well.... I've been really busy. But I am now able to say that this episode, when all six parts have been read, will make you feel like the show is ready for the ending. However, as I wrote this episode, thoughts plagued my mind and fear took its toll. Why? Well, it's that I've come to realize that we are a fragile little species who makes choices based on emotion rather then reason, at least most people are. I've also realized that stories have the power to make people feel emotions, and that is a dangerous power. Nevertheless, I have attempted to harness this power for this episode in all of its parts, because I want to entertain you. I want to tell a unique story. This is where the PSA-portion of this episode comes in. There is one thing I never wished for or desired for, and that is for my work to hurt those I care about. Yes, I want to invoke emotion. Yes, I want you to be sad for characters, and I want you to feel what they feel. But I don't want those feelings to impact you, the reader. You might feel heartbroken by the story of Richard and Kross, but I don't want that sadness to affect you. I don't want it to feed into a depressive state. You may have been able to endure the attempted suicide scene and the Ouija board scene of The Father, The Son, and the Suicide, but this episode trumps it. I'm not going to lie. This episode as a whole is dark. People die. People are hurt in horrible, horrible ways. This episode will feature things such as explicit torture, vivid psychological damage, and is the darkest, edgiest, and most graphic, violent, and horrific piece of writing I have ever done. I wrote scenes for this episode that I have never written in my life. I warn you now that it is perhaps dangerous even. I apologize if Brandon or any other users feel discomforted, sickened, and so forth. A lot of horrible things happen in this episode. If this show was real, this would be 100% a TV-MA episode, and even then, I wonder if particular scenes would even be allowed to air. I'll even let you know ahead of time: Parts 4-6 are considerably darker then the first three parts by far. A few scenes in particular are extremely discomforting, and are perhaps the darkest and most cruel scenes I have written in my entire life. I do not condone any of the horrific events that happen in this episode, especially with these scenes. I've toned it down a bit but it is still considerably risky. But the events of this episode as a whole will not give you joy, will not make you happy. It will make you sad and maybe even scared. As I said, if you feel these emotions during the episode, that's fine. But if these feelings flood into your regular life, if you keep feeling depressed or anxious after reading the episode, that's not okay. Please, do not let this show and the story it tells impact your physical, emotional, and mental health. If it does, and I pray to God it doesn't, then stop. Stop reading the show. If you can't read the show unless you become depressed, if you can't read the show without going into a dark place in your mind,' then don't read it'. Your safety. more importantly your life, is more important than the feeding of any ego. Please, take these words to heart. I can't stop you if you wish to continue. But I had to say this, if only to withhold any feelings of guilt that I could do nothing to help. This is the only warning I shall give. I pray you make the right choice for you. That said, now that I have given you the best warning I could, I wash my hands of whatever consequences follow, as the guilt I would feel would be nightmarish. However, if you are strong and brave enough, and will read this episode, please comment, give your opinion on the episode, and enjoy. -- Sci. ---- It shows The Butler and King Hotel and Resort as Charles voice overs. “Thirteen Mortals have arrived here to play a diabolical game of life, or death. For one of these Mortals is not who everyone thinks they are...for this, ladies and gentlemen is a game… of Murder. " It zooms across to the other side of Wikia Island as it shows clips from the previous episode. “And Last time on MURDER... " Rob: Charles... you're special. It cuts to a scene. '' 'Richard: What do you want, Kross? '''Kross: I want you ..... to go to Charles, and convince him and his friends to not get in my way. It cuts to a scene. '' 'Charles: Robert Gullahorn is the Fiend. It cuts to a scene. '' 'Jack: Go.... Go to the Mountain. Confront the Fiend. It is the only way... It cuts to a scene. '' looks back up at Sub, still in shock. 'Charles:' You are the final descendant of the King family tree. ''It cuts to a scene. '' 'Vicki:' Could it be ... could it be possible that I am one of The Five? ''It cuts to a scene. '' 'De Butler:' The Story you and the Thirteen have been fed '''is a lie. ' It cuts to a scene. '' 'De Butler (voiceover):' Inside, we saw the remains of an ancient people. Ages-old temple columns, pagan deities, skeletons all around. At the epicenter of it all.... was it. cuts to a stone column, the top of it having a strange object. 'De Butler (voiceover):' Green water in a glass cube. ''(later in the scene) We quickly realized that it was an evil invention created to dethrone the one right of God: immortality. It cuts to a scene. '' 'Andre:' Mr. Masters, our investments in the market have brought great profit over the last month. We now have enough funds for our continued search for the Fiend Disk. 'Street:' Excellent. 'Andre: Sir, there's another thing. It's about the boy. It cuts to a scene. '' 'Brandon: 'When I was a boy, my family was poor. I had abusive parents, parents who never loved me. ''It cuts to a scene. '' 'Brandon: When I was fifteen, my father was in a car crash. He went into a coma. My mother went away for being abusive. It cuts to a scene. '' 'Brandon:' I've never actually properly introduced myself to you, Omi. My name.... is Brandon Faust... the descendant of Jay Betrayer. ''It cuts to later in the scene. '' 'Omi: I'm not one of the Five. '''Brandon: No, you're not. You see, I'm the only'' special one here. having been looking at Omi, turns his head to Omni, as the camera zooms up to the Betrayer. The camera cuts to Omni, looking at the now dead body of Omi, and the sight of his murderer, caught in the act. An act of betrayal. The secret is out. Brandon Faust is the Betrayer.... ---- ''From the writer of '''Knight of All Knights', The Black Knight, and Young Plumbers'' A Sci100 Studios Production Featuring: Ryan Eggold as Brandon Faust Tim Curry and Josh Hutcherson as Charles Butler Adam Scott as Omni Trondion Matt Letscher as Kross Lucifer Monday with Hugh Laurie as Richard Butler '' ''Michael McDonald and Tony Todd as Robert Gullahorn/The Fiend and the rest of the cast.... Sci100 Proudly Presents... ---- Wikia Island - Summer 1989 (Between Chair of Mountain Terror & In Love and MURDER) camera fades from blackness into the crashing waves of the ocean by the rocky desolate cliffs. As the camera rises, it shows the left side of the Old Spanish Church. Person (voiceover): So, I know now you're busy up there. I'm assuming you're busy of course, I mean you are God, right? (0:32) (1:17) camera cuts to inside the Old Spanish Church, showing a young man on the ground, praying, breathing in and out, clearly emotional. The camera cuts to a panning shot, revealing the voice to belong to Clark. (0:47) (1:32) praying: But I need your guidance now more than ever. I need answers. I need to know why I'm feeling this thing. This heat that grows when I'm near him. Lord, I need to know why I feel different around Charles. So... can you help me please? (1:02) (1:48) Clark listens, the camera cuts to the large Crucifix hanging on the wall. praying: Are you listening to me? Are you there, God? I need your help, I need an answer, please! (1:24) (2:09) Clark looks up, his eyes opening to look at the Crucifix, the camera cuts to the Crucifix. Jesus, looking down, seemingly at Clark, remains silent and distant. Silence is the only answer for Clark's desperate question. With this silence, Clark sighs, shaking his head. Clark: Amen. tall male teenager, rising from the ground, sighs once more, as his eyes look upon the son of God. With no response, a lamenting Clark leaves the church, exiting outside. [ camera cuts to the outside, showing Clark walking away from the church. The camera slowly spins around Clark, going behind him, before it rises, showing him walking towards the top of the hill that descends downward towards St. Wadsworth. (0:20) in the town itself, the laughter of children in the streets can be heard. Clark passes an alley between two buildings where garbage cans lie, and pauses, spotting something laying to the side of the can. (0:32) -Picture- surprised, continues his way, as the camera cuts to one of the main streets of the town, as he begins walking down a sidewalk on the left side. (0:52) Voice: Excuse me! 2: What, you got somewhere to go? 3: Gonna make some incest bastards with your brother? 2: Whore! (1:03) upon hearing these words, turns to his side, seeing two young men, near Clark's age, harassing a short black woman wearing a strange garment around her head. Woman: Please, leave me alone! I've done nothing wrong! 1: You know what's wrong? You! Get off of our island! 2: Yeah, get off! second man begins to grab the woman's hijab, pulling at it as she tries to pull it away from him. The first man begins beating her, to Clark's horror. (1:24) Clark: Hey! Hey! the street, the men turn their attention to Clark, who runs over towards them in a march of fury. Clark: That's enough, Jim. Jim: Oh yeah? What are you gonna do about it, assshit? second man taps on Jim, his expression and composure changed to a more stiff one. Jim: What is it, Paul? Paul: Dude, not now. points over, showing an officer slowly beginning to walk closer, but on the opposite side of the street, eyeing them, with his hand against his taser. Jim: You're lucky this time, bitch. woman looks down, clearly shaken. Jim: You too, assface. grabs onto Jim, pulling him backwards, as the two begin to walk away. Clark: Are you alright? woman looks at Clark, a bit of relief expressed on her face. Woman: Thank you. You saved me. Clark: You're welcome, I've always hated bullies and well, those two are sorta jackasses so... it was no problem. Woman: They're not the first, trust me. This is something I've always had to deal with. Clark: Being assaulted? Woman: Being judged. I'm judged as a woman. I'm judged by the color of my skin. I'm judged by this (she lifts up the hijab to show to Clark) and that's how it's always been. Clark: Why would you be judged by that? Woman: It's a hijab. When you're a believer of the religion of Islam, as a woman it's expected of you to wear it. Clark: You're ... an Islamian? Woman: That's not a word. It's Muslim. Oh lord my father, You know that I am a sinful man. I acknowledge my mistakes to you. (0:48) Oh lord my father, you know that I'm so afraid of Death. I've tried to expel my hateful sin outwards. (0:59) Please tell me, oh savior. Why should Rob be free from your wrath? Why do Richard's eyes still scorch my soul? (1:12) I feel him, I need him, to quell the darkness... in my heart that's blazing in me out of all control. (1:22) Like fire. Hellfire. ''' '''This fire in my skin. These burning... desires... are tearing me.... apart. (1:45) It's not my fault. I've tried to expel my hateful sin outwards. (0:59) Please tell me, oh savior. Why should Rob be free from your wrath? Why do Richard's eyes still scorch my soul? (1:12) I feel him, I need him, to quell the darkness... in my heart that's blazing in me out of all control. (1:22) Priests: Confiteor Deo Omnipotenti (I confess to God almighty). Beatae Mariae semper Virgini (To blessed Mary ever Virgin). Beato Michaeli archangelo (To the blessed archangel Michael). Sanctis apostolis omnibus sanctis (To the holy apostles, to all the saints). Kross: Oh lord my father, You know that I am a sinful man. I acknowledge my mistakes to you. (0:48) Priests: Et tibit Pater (And to you, Father). Kross: Oh lord my father, you know that I'm so afraid of Death. I've tried to expel my hateful sin outwards. (0:59) Priests: Quia peccavi nimis (That I have sinned) Kross: Please tell me, oh savior. Why should Rob be free from your wrath? Why do Richard's eyes still scorch my soul? (1:12) Priests: Cogitatione (In thought) Kross: I feel him, I need him, to quell the darkness in my heart that's blazing in me out of all control. (1:22) Priests: 'Verbo et opere (In word and deed) 'Kross: Like fire. Hellfire. This fire in my skin These burning... desires... are tearing me.... apart. (1:45) [ Kross: It's not my fault. (1:48) Priests: Mea culpa (Through my fault) Kross: I'm not to blame (1:50) Priests: Mea culpa (Through my fault) Kross: It is Robert Gullahorn who you should blame! (1:54) Priests: Mea maxima culpa (Through my most griveous fault) Kross: It's not my fault (1:56) Priests: Mea culpa (Through my fault) Kross: If in your plan... (1:58) Priests: Mea culpa (Through my fault) Kross: You made the devil so much stronger than a man! (2:03) Priests: Mea maxima culpa (Through my most griveous fault) Frollo: Forgive me, oh Jesus. Don't let this Fiend beat us all. Don't let him win and seize the day as his! Destroy Robert Gullahorn! And let him taste the fires of hell, so Richard can be mine and mine alone! Protect me, Maria Don't let this siren cast her spell Don't let her fire sear my flesh and bone Destroy Esmeralda And let her taste the fires of hell Or else let her be mine and mine alone Guard: Minister Frollo, the gypsy has escaped. Frollo: What? Guard: No longer in the cathedral. She's gone. Frollo: But how? Never mind. Get out, you idiot. I'll find her. I'll find her if I have to burn down all of Paris. Hellfire Dark fire Now gypsy, it's your turn Choose me or Your pyre Be mine or you will burn Priests: Kyrie Eleison (Lord have mercy) Frollo: God have mercy on her Priests: Kyrie Eleison (Lord have mercy) Frollo: God have mercy on me Priests: Kyrie Eleison (Lord have mercy) Frollo: But she will be mine Or she will burn! Unknown Location - Wikia Island - September 10th, 1989; 10 AM cuts to a dark room. Diana, dimly lit, is tied to a chair with multiple ropes. She starts moving her head, opening her eyes as she tries lifting her arms, but fails. Realizing this, her eyes jolt open, taking in her surroundings. Shaking, she tries to move the chair, but fails, the chair being chained to the floor. Voice: Comfortable? looks over, turning head, seeing The Fiend, looking at her. Diana: Not exactly. looks around some more, shifting herself as much as she can to try and get comfortable. Diana: Where am I? Fiend: A friend's home. Fiend slowly begins walking over towards her. Fiend: Well... at least it used to be owned by him. Ever since Joan was imprisoned, no one has been here. The town of St. Wadsworth has claimed it for all these months. Such a pity, it's actually a nice house. Diana: 'Joan... Joan King? 'Fiend: 'You're smarter than you look, Diana. 'Diana: ' More than you realize. You might as well take off that mask.... I know it's you Rob. 'Fiend: I know. Fiend smiles, grabbing his mask and taking it off. Rob: I have to admit to you, I'm just a bit disappointed with Arthur. I expected more of a fight from him. Diana: 'Don't worry. Arthur's the top wrestler at school. 'Rob: 'I'm sure he is. But that's all he is. All he will ever be. A jock.... with no brain. No trace of intellect. You think he's going to be a knight in shining armor but all he will ever be.... is a broken heart. An old memory of your past. 'Diana: You're wrong about him. We're in love with each other. Rob: I know you're just an adolescent, and you don't know better, but if life has shown me anything... it's that you can't let friendship get in the way of being the person you're meant to be. Friendship is a vulnerability. Compassion is a flaw in human design. But most importantly, the lesson I'm teaching now.... is that Love is weakness. It will only hurt you in the end. breathes slowly, intimidated by the man before him. Diana: What did Richard and Kross do to you to make you hate love? Rob: That, my dear... is none of your business. Diana: 'So what are you going to do with me? 'Rob: Well you Diana, you are nothing more... than my insurance. You're going to help me get the piece of the Fiend Disk.... and you're going to assist me in leaving the island. St. Wadsworth Hospital - Wikia Island - January 17th, 1989; 10 AM (The Night of the Dead) is in a hospital bed, [[Chair of Mountain Terror|having just been attacked by The Fiend the previous night.] Coming towards the room is Robert Gullahorn, holding some flowers in his hands. A nurse exits the room Richard is in, and sees him. ] Nurse: Officer. Rob: Is he okay? Nurse: Yes, but I should warn you. He's on some strong drugs. He won't be awake for a few hours. Rob: 'So whatever I say to him.... he won't hear. 'Nurse: 'Exactly. Sorry. Nurse walks away as Rob walks in, and shuts the door quietly, looking at Richard. 'Rob: 'You look so different. You've gotten so old. places the flowers in a glass vase on a nearby table. He then walks over to Richard. 'Rob: I could kill you... right now. So easy. What I wouldn't have given... oh, what I would have given to have had you like this before, all those years to the night Clara died. So.... helpless. I tried killing you yesterday... but somehow you've survived, for which I have no explanation as to why. grins, and begins walking away, looking at the rest of the hospital interior. Rob: 'All these years, convincing everyone that I'm a shining knight in armor.... unaware of my true intentions. It'd be so much easier to just have killed you and become a father-figure to Charles but... fate.... fate's tricky. Isn't it? turns around, and walks over to the I.V. bags, looking at them. 'Rob: I will say though, Richard. It's been an education. Watching you grow further and further into your shell, hiding from the past.... while watching Charles grow into his own person. No hint. No sign. No trace of him even knowing the truth, unaware of the monster you really are. then faces Richard once more. Rob: For whom I hate more than most. looks over and grabs a chair, sitting down. Rob: I will admit, pushing away friendship and compassion... is harder than it looks. There have been times where I've even fooled myself into believing we're friends. Times where I've believed that I actually cared about you. expression changes from one of nostalgia to seriousness. '''Rob: '''But just to very clear... nothing is forgiven. There will be a reckoning. I promise to you, on this day, Richard Butler.... that you will die.